Acting Emotions: a comprehensive dataset of elicited emotions.

Emotions encompass physiological systems that can be assessed through biosignals like electromyography and electrocardiography. Prior investigations in emotion recognition have primarily focused on general population samples, overlooking the specific context of theatre actors who possess exceptional abilities in conveying emotions to an audience, namely acting emotions. We conducted a study involving 11 professional actors to collect physiological data for acting emotions to investigate the correlation between biosignals and emotion expression. Our contribution is the DECEiVeR (DatasEt aCting Emotions Valence aRousal) dataset, a comprehensive collection of various physiological recordings meticulously curated to facilitate the recognition of a set of five emotions. Moreover, we conduct a preliminary analysis on modeling the recognition of acting emotions from raw, low- and mid-level temporal and spectral data and the reliability of physiological data across time. Our dataset aims to leverage a deeper understanding of the intricate interplay between biosignals and emotional expression. It provides valuable insights into acting emotion recognition and affective computing by exposing the degree to which biosignals capture emotions elicited from inner stimuli.

Oral rehabilitation of a saxophone player with orofacial pain: a case report.

This paper presents a clinical case study investigating the pattern of a saxophonist's embouchure as a possible origin of orofacial pain. The rehabilitation addressed the dental occlusion and a fracture in a metal ceramic bridge. To evaluate the undesirable loads on the upper teeth, two piezoresistive sensors were placed between the central incisors and the mouthpiece during the embouchure. A newly fixed metal ceramic prosthesis was placed from teeth 13 to 25, and two implants were placed in the premolar zone corresponding to teeth 14 and 15. After the oral rehabilitation, the embouchure force measurements showed that higher stability was promoted by the newly fixed metal-ceramic prosthesis. The musician executed a more symmetric loading of the central incisors (teeth 11 and 21). The functional demands of the saxophone player and consequent application of excessive pressure can significantly influence and modify the metal-ceramic position on the anterior zone teeth 21/22. The contribution of engineering (i.e., monitoring the applied forces on the musician's dental structures) was therefore crucial for the correct assessment and design of the treatment plan.

A Computational Model of Tonal Tension Profile of Chord Progressions in the Tonal Interval Space.

In tonal music, musical tension is strongly associated with musical expression, particularly with expectations and emotions. Most listeners are able to perceive musical tension subjectively, yet musical tension is difficult to be measured objectively, as it is connected with musical parameters such as rhythm, dynamics, melody, harmony, and timbre. Musical tension specifically associated with melodic and harmonic motion is called tonal tension. In this article, we are interested in perceived changes of tonal tension over time for chord progressions, dubbed tonal tension profiles. We propose an objective measure capable of capturing tension profile according to different tonal music parameters, namely, tonal distance, dissonance, voice leading, and hierarchical tension. We performed two experiments to validate the proposed model of tonal tension profile and compared against Lerdahl's model and MorpheuS across 12 chord progressions. Our results show that the considered four tonal parameters contribute differently to the perception of tonal tension. In our model, their relative importance adopts the following weights, summing to unity: dissonance (0.402), hierarchical tension (0.246), tonal distance (0.202), and voice leading (0.193). The assumption that listeners perceive global changes in tonal tension as prototypical profiles is strongly suggested in our results, which outperform the state-of-the-art models.

Orofacial Trauma on the Anterior Zone of a Trumpet's Player Maxilla: Concept of the Oral Rehabilitation-A Case Report.

BACKGROUND: The occurrence of an orofacial trauma can originate health, social, economic and professional problems. A 13-year boy suffered the avulsion of tooth 11 and 21, lost at the scenario. METHODS: Three intraoral appliances were manufactured: A Hawley appliance with a central expansion screw and two central incisors (1), trumpet edentulous anterior tooth appliance (2) and a customized splint (3) were designed as part of the rehabilitation procedure. Objectively assessing the sound quality of the trumpet player with these new devices in terms of its spectral, temporal, and spectro-temporal audio properties. A linear frequency response microphone was adopted for precision measurement of pitch, loudness, and timbre descriptors. RESULTS: Pitch deviations may result from the different intra-oral appliances due to the alteration of the mouth cavity, respectively, the area occupied and modification/interaction with the anatomy. This investigation supports the findings that the intra-oral appliance which occupies less volume is the best solution in terms of sound quality. CONCLUSIONS: Young wind instrumentalists should have dental impressions of their teeth made, so their dentist has the most reliable anatomy of the natural teeth in case of an orofacial trauma. Likewise, the registration of their sound quality should be done regularly to have standard parameters for comparison.

A new classification of wind instruments: Orofacial considerations.

BACKGROUND/OBJECTIVE: Playing a wind instrument implies rhythmic jaw movements where the embouchure applies forces with different directions and intensities towards the orofacial structures. These features are relevant when comparing the differences between a clarinettist and a saxophone player embouchure, independently to the fact that both belong to the single-reed instrument group, making therefore necessary to update the actual classification. METHODS: Lateral cephalograms were taken to single-reed, double-reed and brass instrumentalists with the purpose of analyzing the relationship of the mouthpiece and the orofacial structures. RESULTS: The comparison of the different wind instruments showed substantial differences. Therefore the authors purpose a new classification of wind instruments: Class 1 single-reed mouthpiece, division 1- clarinet, division 2 -saxophone; Class 2 double-reed instruments, division 1- oboe, division 2- bassoon; Class 3 cup-shaped mouthpiece, division 1- trumpet and French horn, division 2- trombone and tuba; Class 4 aperture mouthpieces, division 1- flute, division 2 - transversal flute and piccolo. CONCLUSIONS: Elements such as dental arches, teeth and lips, assume vital importance at a new nomenclature and classification of woodwind instruments that were in the past mainly classified by the type of mouthpiece and not taking into consideration its relationship with their neighboring structures.